In his leading My New Band Believe, Cameron Picton continues to bring forth his passion in music-making. The former vocalist/bassist of black midi has had his taste of success across three albums and numerous tours prior to the band’s disbanding in 2024. Since then, Picton has graciously experimented with solo gigs and releases under ‘Camera Picture’ to forge a path that best satisfies his love for his craft. With support from a collective of talented musicians–including London 8-piece caroline, Picton shares a triumphant debut album under My New Band Believe.
Focused on entirely acoustic arrangements, the self-titled album feels like a blank-slate and reintroduction of what black midi fans may know of Picton; though he doesn’t necessarily view it that way. “I’m just interested in the ‘doing’ of it. If people come, that’s great. If people don’t come, well maybe don’t do it so much,” he contends. Concentrating on the music itself and playing the shows is the core of Picton’s artistic drive. “If I had it my way, I wouldn’t release the album. I’d keep it for myself.”
The name My New Band Believe was initially written down as a passing thought; Picton was sick from food poisoning. Though, his delirium in sudden-illness isn’t what prompted him to note down what came to be the project’s title. While I imagined the situation being a spark for the band’s lore, Picton corrected me, mentioning his habit of jotting notes down regularly. “It was only later when that became the band name that I remembered [having food poisoning] was when that happened. There’s plenty of other things that would have prompted ideas–you just have to be open enough to notice,” he clarifies.
Prime influences range from The Beach Boys, The Rolling Stones, The Monkees, and The Beatles, though experimentation behind My New Band Believe’s debut is also inspired by song structures in pop music. “I may be talking more about pop in a more broad sense rather than anything recent– the connection between recent pop stuff and what I’m into in that world is PC music,” Picton explains to draw a through-line between PC music, the Stockholm scene (Bladee and Yung Lean), and its impact on modern pop.
The album’s merger of PC-influenced pop and acoustic arrangements make the perfect reinforcements for its open-ended writing. Characters in the MNBB self-titled universe are having “broad strokes” experiences, some personal to Picton but mostly apply to the general human experience. “It felt quite natural, and I try as much as possible to do what comes naturally,” affirming a key element to his creative process. Picton finds what’s best for a song through a willingness to explore beyond his wants without a set formula. “Even if you have that specific idea of what you want to do, there’s no reason you can’t try something completely antithetical to that and see what happens.” Whether it’s working with a variety of collaborators or appreciating the results that come within a day, Picton feels fulfilled in his limitless music-making methods.
Scaling back post-black midi allowed Picton to immerse himself in different creative avenues, learning what worked for him versus what didn’t. “I’ve been touring for two years nonstop since COVID. “There was no real reason to go straight back into it just because it’s what I’m used to doing. But even the stuff you make that no one’s ever going to hear, because it’s dog shit, you still get something out of it.” Regardless of the process or accolades, Picton’s true meter of success is having the time and ability to make records. “I’m very grateful to be able to make music and have a budget to do that–anything else is a bonus.”